Brazilians in Michel de Montaigne's Essay "Of Cannibals"
When describing native Brazilian people in his 1580 essay, “Of Cannibals,” Michel de Montaigne states, “Truly here are real savages by our standards; for either they must be thoroughly so, or we must be; there is an amazing distance between their character and ours” (158). Montaigne doesn’t always maintain this “amazing” distance, however, between savages and non-savages or between Brazilians and Europeans; he first portrays Brazilians as non-barbaric people who are not like Europeans, then as non-barbarians who best embody traditional European values, and finally as barbarians who are diametrically opposed to Europeans.
First, Montaigne portrays Brazilians as non-barbaric people who are not like Europeans. He asserts, “I think there is nothing barbarous and savage in that nation…except that each man calls barbarism whatever is not his own practice” (152). Through his discussion of certain salient qualities that define these “other,” non-barbaric, Brazilian people, Montaigne actually elevates the Brazilians above Europeans. For example, he writes, “Those [Brazilian] people are wild, just as we call wild the fruits that Nature has produced by herself and in her normal course; whereas really it is those that we have changed artificially and led astray from the common order, that we should rather call wild” (152). After likening wild Brazilians to wild fruits, he implies that they both “retain alive and vigorous their genuine, their most useful and natural, virtues and properties, which we have debased in the [artificial fruits] in adapting them to gratify our corrupted taste” (152). For Montaigne, wildness and natural virtues are characteristics that are u...
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...s the superiority of the former to the latter; in the second case, he greatly decreases the distance between the two groups and the level of superiority that Brazilians have over Europeans. Finally, his essay, as a whole, ultimately reinstates a great distance between the two groups, and Europeans reclaim superiority over Brazilians. Notably, in the first two cases, nature is also elevated above art, but art finally subjugates nature. Perhaps this is because Montaigne identifies with “Lycurgus and Plato… [who] could [not] believe that our society could be maintained with so little artifice and human solder” (153). Montaigne’s essay suggests that he relies on the artifice of his writing and interpretations to explore and define social groups, explore and establish social hierarchies, and maintain social order in a manner that ultimately favors him and his people.
In relation to the text as a whole, it is a perfect explanation of what Montaigne declared earlier in the chapter as the cannibals’ motto: “ la vaillance contre les ennemis et l’amitié à leurs femmes”. The latter part may be contested from a feminist perspective, but both parts of the passage help the reader achieve a greater understanding of the text and of 16th century Brazilian culture, in regards to the ways in which they treat their enemies, and their
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“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
In the essay, “Of Cannibals,” Montaigne describes the lives of an indigenous group in Brazil. He compares their beliefs and actions to those of his fellow countrymen during this time, and in many cases prefers the indigenous way of thinking. In this comparison, Montaigne groups all of European Renaissance society to one side because of the similar beliefs concerning imperialism, economics, and societal structure throughout most of the continent. During Montaigne’s time, these beliefs were based in aristocracy and territorial expansion, and will be further discussed later. The purpose of Montaigne’s essay is to criticize and challenge this Renaissance ideology in a time when Europeans were imposing themselves upon peoples in all corners of
Montaigne's view about human nature against modern civilization is based on two views that we have seen before. Some might even call Montaigne's view of human nature a critical realist believe. So looking at this from this perspective all humans, Europeans and other nationalities have both a standard and noble characteristics. Montaigne also influenced a theory. The theory is the noble savage theory which was later adopted by a few other writers. One writer that adopted it is Jean Jacques Rousseau. Montaigne states that there are many ways that tribal cultures were more superior to the culture of Western Europe at the time of Montaigne's writing career which shows his idealization was a bit chastened. While Montaigne neither punished cannibalism
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
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